E. @tropicalescent - Tumblr Blog

Monastero di Sant'Anna in Camprena, Tuscany, Italy. Still from The English Patient (1996)

#the english patient #italy

langsat-lamb

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philopenshaw

mesogeios

Marcel Proust’s manuscript from À la recherche du temps perdu

amadryades

“Late at night, as I was pulling out her earrings to kiss her, - the way I like, her back against the church wall- the Aegean thundered and the Saints all came out holding candles to light my way.”

— Odysseus Elytis, from “The Little Mariner” (IX)

sundaynightfilms

L’Eclisse, 1962

marieandrebeaumont-deactivated2

Monica Bellucci as Malèna Scordia in Malèna, 2000

letzternachtzug

“I have noticed that when all the lights are on, people tend to talk about what they are doing – their outer lives. Sitting round in candlelight or firelight, people start to talk about how they are feeling – their inner lives. They speak subjectively, they argue less, there are longer pauses. To sit alone without any electric light is curiously creative. I have my best ideas at dawn or at nightfall, but not if I switch on the lights – then I start thinking about projects, deadlines, demands, and the shadows and shapes of the house become objects, not suggestions, things that need to done, not a background to thought.”

— Why I adore the night, by Jeanette Winterson (via lostpolaroids)

voxsart

Ford Mustang.

Tania Mallet, Goldfinger, 1964.

overclassy

#style

attar-of-rose

“The only way to deal with an unfree world is to become so absolutely free that your very existence is an act of rebellion.”

— Albert Camus, The Outsider

brdapr

“Le Couple, 1973″ by Léon Herschtritt

#intimacy

luxe-pauvre

“Why are some people drawn to minimalist architecture and others to Baroque? Why are some people excited by bare concrete walls and others by William Morris’s floral patterns? Our tastes will depend on what spectrum of our emotional make-up lies in shadow and is hence in need of stimulation and emphasis. Every work of art is imbued with a particular psychological and moral atmosphere: a painting may be either serene or restless, bourgeois or aristocratic, and our preferences for one kind over another reflect our varied psychological gaps. We hunger for artworks that will compensate for our inner fragilities and help return us to a viable mean. We call a work ‘beautiful’ when it supplies the virtues we are missing, and we dismiss as ‘ugly’ one that forces on us moods or motifs that we feel either threatened or already overwhelmed by. Art holds out the promise of inner wholeness.”

— Alain de Botton & John Armstong, Art as Therapy